"Il Pozzo dei Dannati" è una trasmissione Heavy Metal in onda da Settembre a Luglio, sulle frequenze 104.0 di Radio Popolare Verona e in streaming su www.yastaradio.com. The Pit of the Damned is a heavy metal radio show on air on FM104.0 of Radio Popolare Verona and in streaming on www.yastaradio.com from September to July.

sabato 25 gennaio 2014

Having returned to glory in a big way with the stand-out 'All Guts, No Glory' a few years ago, gore-mongers Exhumed have offered up another exceptional splatter platter here with a fine mixture of their past and present. Still wringing their hands in the gore/grind trade with their propensity for intense, tightly-wound rhythms, technically-precise guitars and knack for bloody and disgusting lyrics, it feels right at home here amongst their early works but adds in an extra dimension here with a slight melodic flair in the riffing arrangement from time-to-time that breaks up the monotony slightly and brings in a newfound toy to play with despite still wanting to utilize what’s been in their toychest all these years. Bristling with stand-out drumming patterns from Deeds of Flesh skinsman Mike Hamilton who throws in a propulsive amount of double-bass lines and top-notch fills, they drive the speed that works in guitarist/vocalist/founder Matt Harvey’s wet, sloppy growl that still sounds as messy and disgusting as their heyday over a decade ago, and when it’s all wrapped together with a well-composed tendency to switch from simple thrashing to technical virtuosic displays and even the aforementioned melodic flair, there’s a lot to like here. Starting off with the spectacular "Coins Upon the Eyes," and carrying on through the title track, "Sickened," "(So Passes) The Glory of Death" and "The Rotting," it’s pretty obvious what’s going to happen throughout as we get razor-edge riffing, tight arrangements and blinding thrash-like speed merged together in one wholesale package, if anything on this release could be considered wholesome. Thankfully, there’s some fine originality to take place here as "The Shape of Deaths to Come" introduces those melodic interludes to keep the material broken up slightly, "Dysmorphic" offers a lengthy acoustic break in the middle of the track and the blistering "Carrion Call" offers something resembling a call-and-response chorus, a little-featured facet of their sound which is briefly featured for what must be the live experience. That said, the big flaw here is pretty much the fact that the band is pretty consistent in their approach and don’t really offer up much in the way of variation or really differentiating their music from each other as this gets pretty hard to really tell apart in the later half as it blends together really quickly here, but all in all this is some prime era material on this and definitely ranks high in their discography if this minor issue doesn’t matter too much. (Don Anelli)

lunedì 20 gennaio 2014

Even though flowery Italian power metal tends to be scoffed at a lot by purveyors of more extreme music within metal, I actually kind of like it as a concept. Because it is referred to as "heavy" metal, some may be under the misconception that anything on the lighter spectrum of things within metal should be excluded due to the lack of the same grit or intensity metal is (apparently) SUPPOSED to have. However, I don't really have this preconception coming into music in general, in fact, I seek out the most delicate and beautiful sounding moments in music I can find most of the time. For this reason, I can listen to Rhapsody (of fire?), Balflare and Timeless Miracle among a few select others from time to time and they don't sound nearly as out of place in their poppy, saccharine splendor as they might for someone who primarily listens to black, death and heavier doom. It's also for this reason that my eventual problem with 'The X Experiment' isn't necessarily that it's too syrupy and flowery; no, my issue is actually that the album isn't quite flowery enough. The underlying structure of the album is well-crafted in its own right. The songwriting isn't anything revolutionary, but it makes sense, and that's probably a little more preferable for me when it comes to power metal. The guitars come out in a clean and clear tone and the bass is actually present, although it never comes into its own enough to be overtly recognized either way. The drums are a tad dry and clinical, but it never gets to the point where it really starts to annoy you. On the whole, this album is well put together; sure, there are a lot of references to common songwriting tropes of Italian power metal but, well, this is Italian power metal. What exactly were you expecting? This stuff is about refining and perfecting what's already there, not reinventing the wheel. The cliched nature of the album only becomes a hindrance to its quality when there's no speed and overblown energy to supplement the riffing, and Dragonhammer will only play something of a significantly faster tempo to either provide an enticing (and misleading) introduction, close out a song, or segue into a solo. The riffs frequently sound as if they're struggling to keep up with the drums and/or keyboards and often seem to have to resort to more simplistic riffing measures as a result. A good deal of the meat riffing in the verses is comprised of monotone tremolo with no extra dimensions to it. I'd like to say to say the melodically pleasing but sometimes trite and cliched guitar leads are just the result of an older guitarist comfortably playing below his skill level, but having not heard any of this band's previous albums, These songs don't make me very confident he has the chops to perform anything more intricately composed than 'The X Experiment' to begin with. The extensive focus on slower balladry and ominous, thorough intros by the keyboards into the choruses and solos makes the idea that this album is guitar-based come into question. When you stop making riffs the main feature of my metal, you're gonna start to run into some problems. Fortunately, the keyboards are handled well enough that Dragonhammer can get away with the guitars residing more in the shadows than a listener of this style might be accustomed to. They often provide much more to grasp at in terms of melodies with texture than the guitars do; just examine the beginning of "Escape" to see an example of this. The keyboards will often play the primary melody while the guitars become the rhythmic base. The reliance on the keyboards to carry the songs was a good decision to make, because the verses they craft are much more listenable and memorable than anything the guitars can put out. It's because of these keyboards that some of the choruses on 'The X Experiment' do get stuck in my head from time to time, although saying that they're the only thing making the album catchy would be giving not nearly enough credit to the vocalist. Over the time I've listened to this album, I've gone from thinking he has some good qualities to considering him outright awful to having some sort of weird fascination with his vocals to finally just considering him quirky and interesting but with a few really evident flaws. The natural rasp and vibrato that comes with his voice gives him a bit of character, but he's also really noticeably flat, especially when he goes into his higher register and lets out a wail that necessarily has to be at proper pitch to have its proper effect. Being consistently a half-step underneath the note he's trying to hit, a lot of Max Aguzzi's "big moments" on this album can fall flat as a result. The fact that I know they're supposed to be big moments is a result of good songwriting, but the choruses that get stuck in my head aren't always memorable for the right reasons. Sometimes the vocals stand out because his tone was significantly off, or perhaps it's because of his thick accent and odd lyricism. If we were being true to the pronunciation of the title in the actual song, this album would be titled 'The Sperimen Hex'. It's part of the reason Aguzzi has a somewhat adorable personality as a vocalist, but it also makes it much more difficult to take this album seriously. It's hard not to endlessly flip-flop when it comes to my enjoyment of this album. It's quite the infectious little bugger, but there's just not enough skill and personality present in the music to make it last and the honest enjoyment of the album can be somewhat deterred by how cheesy it is. If you can't get enough sappy ballads and galloping chugs in your life, you'll find 'The X Experiment' quite satisfying as it's a very professionally done album, but I can't bring myself to wholeheartedly recommend this to any group of people other than that. (RapeTheDead)

domenica 19 gennaio 2014

Dreadnought is a Denver (CO) band that can best be described as psychedelic jazz/prog-metal fusion. Between frequent drum rim shots and ride cymbal, odd time signatures, clear vocal harmonies that at first hearken to Jon Anderson and Chris Squire in Yes which in the next second they morph into something far more tense and foreboding. Classic rock influences poke their heads though occasionally and briefly--with organ textures reminiscent of Keith Emerson and Jon Lord (Hammond B3) making furtive cameos. Flute melodies on top of power chords meld into sections with black metal vocals which segue into instrumentals leaning into prog-rock territory when suddenly, trumpet solos erupt. Lifewoven can be reflective and jazzy with rock undercurrents one moment and with demonic vocal howls overlaying the song the next. For listeners who like progressive and jazzy elements mixed with rock and metal, I suggest you give this a try. I've yet to find anything quite like this, but it does grow on you. The musicianship is top notch, as the members of Dreadnought take you on emotional and mental voyage, as they explore elements of multiple genres with each song movement, while making the synthesis and evolution of each song somehow sound natural. There are five songs on this release, each with a single-word title: "Nascence", "Lift", "Deluge", "Utopia", "Immolate" and "Renaissance". The shortest song, "Immolate" clocks in at just under five minutes, the longest, "Deluge" at almost thirteen-and-a-half. A lot of emotions and feelings are explored on "Lifewoven". It's a musical journey that is well worth taking. (Bob Szekely)

One of the most legendary and important releases in the history of brutal death metal, this four-song EP is still held in high regard by the majority of old-school metallers from the scene’s birth. The most glaring option about this album is that it’s far more technical than expected, as there’s a slew of complex rhythms and patterns at play within this, not just from the blazingly-fast guitars but the bass as well which has a few dynamic areas within the music to showcase it’s chops effectively. Of course, the drumming is the real key here as there’s just absolute devastation left after this one gets going, filled not just with complex patterns and blastbeats but also managing to roll throughout the different tracks with a reckless disregard for the number of hits being played on the kit, giving the music an extra intensity and speed that doesn’t come naturally in the genre. Top it off with the ever-familiar gorilla-grunting and pig-squeal vocals that permeate the genre and this is a rather impressive outing in the genre. The opening title track absolutely slays with dynamic waves of technical drumming, tight riff-work and a dedication to pummel all who stand in the way that there’s no let-up at all in the pace or tempo here as it just flat-out rips with ruthless aggression throughout. Follow-up "Mentally Deprived" is just as good with even more dynamic technicality displayed with some absolutely ferocious break-downs as the tight, swirling guitars buzzing in complex variations throughout with absolutely pummeling drum-work. "Realization of Betrayal" and "Induced Deception" really flow together in much the same way, dazzling technicality for the genre matched with devastating drumming, tight patterns and vicious rhythms that don’t really match the speed or urgency of their counterparts on the first half of the disc, but the brutality within still holds up to this day and they remain one of the more important acts in the genre as this one release attests to. (Don Anelli)